She notes that her clients are “natural historians, science writers, entomologists, and botanists. In my studio I am surrounded by stuffed birds, pinned insects and field guides. Observing and studying the natural world has been a life-long interest and a great source of happiness for me. With this work, the subject matter is of the utmost importance and the art that results is negligible; in fact, no one but myself ever sees the original work. It is scanned, sent digitally, and the illustration goes into a dark drawer. I never display it, sell it or show it to anyone.”
During a recent conversation at her studio, a large panel with her painting of a giraffe looking over her left shoulder, Tyrol explains that unlike the backdrop commissions that could involve a team of people, lots of egos, drama and back-and-forth, the Northern Woodlands’ editor forwards the next week’s essay three or four days before the weekly deadline, which is 6 a.m. on Thursdays.
“I usually do it the night before,” she said. “I’m very comfortable with very short deadlines. So it’s much more exciting for me to have a very short period of time to do it.”
She eagerly reads each essay. Tyrol said she has always been interested in the natural world, so she has some general familiarity of most topics presented by the writers. Once she knows that week’s topic, she researches photos, illustrations and images. She does not copy a specific image, but incorporates elements of many to create what she hopes will be an original illustration that is recognizable but will provide a level of curiosity.
“I really want the drawing to stop people to look at the article,” she said. “I try to make it something other than just diagnostic. … That’s much more fun for me. But it has to be right.”
The day of the deadline, she scans the illustration and emails it off to her editor. Then, Tyrol pivots back to her personal work as an artist.
